Reactivity Patterns in Group 1 and Group 7 Elements

• THE HIGHER THE NUMBER OF VALENCE SHELLS…
• THE MORE EASILY THE ELECTRONS ARE LOST AND
• THE LESS EASILY THE ELECTRONS ARE GAINED

• As you go down Group 1, reactivity increases. The valence electron gets further from the nucleus so its attraction to the nucleus is weakened, making It is easier to lose.

• As you go down Group 7, reactivity decreases. There are less shells higher up Group 7 so the nucleus is closer to the region outside of the element, making it easier to attract electrons. As the number of shells increases, the nucleus is farther away from the region outside of the element so it is harder to attract electrons.
  

Notes on Handel’s “And the Glory of the Lord”

Modulations

The modulations happen in this order (all major keys): A-E, E-A, A-E, E-B, B-E, E-A or think of it this way: AEAEBEA

• Modulation 1 (from A major to E major) happens around when Idea 2 (“shall be revealed”) comes in for the first time

• Modulation 2 (from E major to A major) happens at the end of the orchestral link just before Idea 3 (“and all flesh shall see it together”) comes in for the first time – at the start of Idea 3, the key is already A major

• Modulations 3 and 4 (from A major to E major straight to B major) happen about 7 bars/seconds after the sopranos sing Idea 4 (“for the mouth…”). NOTE: THE MODULATIONS BETWEEN THE 3 CHORDS LITERALLY HAPPEN WITHIN 3 BARS. A short orchestral link happens a while after this and it is still in B major.

• *Modulation 5 happens somewhere around here from B major to E major – still thinking of a signal point*

• The final modulation, Modulation 6 (from E major to A major), happens just before “and all flesh” (A) -> “and all flesh” (T) -> “and all flesh” (B) i.e. just before the altos sing “and all flesh” echoed first by tenor and then bass in quick succession (LISTEN OUT FOR WHEN THE TEXTURE IS BRIEFLY REDUCED)